The costumer’s voice drifted through the door, comparing my body to a beanbag chair for a rapt audience of teenage girls.
Agnes was a theater legend, a title that apparently gave her license to bully the new, fifty-three-year-old lead. Her attacks escalated from passive-aggressive comments to outright sabotage, each designed to make me feel like an unprofessional, inconvenient problem.
She thought she was unraveling me.
Little did she know, I wasn’t just some middle-aged hobbyist; I was a project manager who would use every condescending email and faked measurement to build a professional cage so perfectly constructed she wouldn’t see the bars until it was already locked.
The First Unraveling Thread: The Pin That Wasn’t There
The air in the community theater’s basement workshop smelled of dust, cedar, and hot glue. It was the scent of creation, and at fifty-three, I was breathing it in for the first time as a performer, not just an audience member. After two decades of crafting corporate training modules—making interpersonal communication palatable for mid-level managers—I’d finally auditioned for a musical. To my shock, I’d been cast as the Baroness in The Sound of Music. A real role with solos and a complicated waltz.
My husband, Leo, had joked that my experience wrangling difficult executives was perfect training for handling seven children and a moody naval captain. I was just giddy.
The costume shop was Agnes’s kingdom. She was a woman who seemed permanently stitched into a posture of disapproval, her gray hair pulled into a bun so tight it looked painful. She ruled over racks of crinoline and velvet with a thimble-adorned iron fist. I’d heard whispers about her being a “theater legend,” which I was quickly learning was code for “been here forever and refuses to change.”
“Alright, Noor. On the box,” she commanded, not looking up from a bolt of fabric. Her voice was thin and reedy, like a worn-out cassette tape.
I stepped onto the wooden pedestal, my arms held out in a T-pose, feeling a familiar flutter of excitement. This was my first fitting for the elegant party gown the Baroness wears to confront Maria. It was supposed to be a showstopper, all shimmering satin and icy confidence.
Agnes circled me, her lips a thin, unmoving line. She tugged at the muslin mock-up, her movements jerky and impatient. Pins went in, sharp and fast.
“Your measurements must be… off,” she murmured, more to the room than to me. “This pattern was drafted for the last Baroness. A much… neater fit.”
A prickle of unease ran down my spine. I was a size 12, hardly an outlier. I’d spent my life fluctuating between a 10 and a 14, a perfectly normal trajectory for a woman in her fifties who enjoyed both pilates and the occasional pizza night with her daughter, Maya. “I sent my measurements in last week,” I said, keeping my voice even. The corporate trainer in me clicked on: maintain a neutral tone, assume good intent until proven otherwise.
“Yes, well.” She yanked the fabric tight across my hips. “Things change.” She pinned the hem, her knuckles brushing against my calf. One pin felt loose. As I shifted my weight to point it out, it fell to the floor with a faint tink.
“Careful,” she snapped, not looking down. “You’ll make me lose my place.”
She didn’t replace the pin. She just kept moving, leaving a three-inch section of the hem drooping. I watched it in the dusty, full-length mirror. A small thing. An oversight. But it felt like a punctuation mark I didn’t yet understand. When she was done, she stepped back, squinting.
“We’ll see what we can do,” she said, her tone suggesting a monumental, perhaps impossible, task. “It will take a lot of work to make this… presentable.”
I stepped off the box, a chill settling over my initial excitement. The forgotten pin glinted on the floor, a tiny silver accusation. I bent to pick it up, but Agnes waved a dismissive hand. “Leave it. I’ve got hundreds.”
A Chorus of Whispers
Rehearsal was my sanctuary. Onstage, under the warm glow of the lights, I wasn’t a corporate trainer or a woman being measured and found wanting. I was the Baroness Elsa von Schraeder, a woman of wit, wealth, and unwavering self-possession. Mark, our director, was a cheerful, perpetually stressed man in his forties who gave feedback with the gentle encouragement of a kindergarten teacher.
“Lovely, Noor! Just remember, she’s not evil. She’s just… losing,” he’d said during a blocking rehearsal. It was the kind of nuanced direction I craved.
Two weeks into the process, the whispers started. I was heading to the dressing room to grab my water bottle when I heard Agnes’s voice from the Green Room, the small lounge where actors waited for their cues.
“…not the easiest to dress,” she was saying. A few of the younger chorus girls, barely out of their teens, were listening, their faces a mixture of curiosity and apprehension. “When you get to a certain age, the body just… gives up. There’s no structure. It’s like sewing a gown for a beanbag chair.”
A nervous titter went through the girls. My hand froze on the doorknob. My face flushed hot, a wave of shame and anger so intense it made my ears ring. A beanbag chair.
“The last Baroness, she was a dancer. All lean lines,” Agnes continued, her voice dripping with nostalgic disdain. “This one… maybe the chorus stands will hide more. The audience is far away, thank heavens.”
I backed away from the door, my heart hammering against my ribs. I stumbled into the empty hallway, leaning against the cool cinderblock wall. It wasn’t just an insult. It was a professional assassination, delivered with a smile to an audience of impressionable young women. She was positioning me as a problem, a burden, an unsightly object to be cleverly hidden.
I thought of every project manager I’d ever coached on delivering difficult feedback. Be specific. Be private. Focus on the behavior, not the person. Agnes had violated every rule. This wasn’t incompetence. This was malice.
Taking a deep, shaky breath, I walked back toward the stage, the imaginary weight of my beanbag-chair body suddenly feeling immense. I saw Chloe, a sweet girl who played one of the nuns, glance at me with a pained, sympathetic look. She had heard. And now she saw me. The shame curdled into something colder, harder. A resolve.
I went home that night and pulled out my old project management textbooks. I wasn’t just Noor the aspiring actress anymore. I was Noor the senior consultant, and I had a personnel problem to manage.
The Rescheduled Ghost
My new strategy was simple: document everything. It was second nature to me. In the corporate world, if it isn’t in writing, it didn’t happen. My first step was to create a clear communication trail for all my fittings.
I sent Agnes a polite, concise email.
Subject: Baroness Gown Fitting Schedule
Hi Agnes,
Just wanted to confirm our next fitting time for the party gown. I have my calendar open for Tuesday or Thursday evening this week. Please let me know what works best for your schedule.
Best,
Noor
She replied a day later. Tuesday. 7pm.
On Tuesday, I left work early, fought traffic, and arrived at the theater at 6:50 PM, buzzing with a nervous energy. This time would be different. I was prepared. I would be assertive, clear, and professional.
The basement was dark. The door to the costume shop, usually propped open and spilling light into the hallway, was shut. A single, bare bulb illuminated the concrete corridor. I tried the knob. Locked.
I knocked. First softly, then with more force. The sound echoed in the empty space. I checked my phone. 7:05 PM. I called her cell. It went straight to voicemail, the mailbox full. Of course it was.
A knot of frustration tightened in my stomach. I walked back upstairs to the main rehearsal hall. A few other cast members were stretching, but Mark and the stage manager, Sarah, were nowhere to be seen. The theater was a ghost town.
I sat on the edge of the stage, the splintery wood pressing into my thighs, and sent another email.
Subject: Re: Baroness Gown Fitting Schedule
Hi Agnes,
I’m here at the theater for our 7 PM fitting, but the shop is dark. Perhaps there was a miscommunication about the time or day? Let me know when we can reschedule. I’m eager to see the progress.
Best,
Noor
I hit send and stared at the dark, cavernous space. This was classic stonewalling. A power play. Make the other person feel small, insignificant, like their time doesn’t matter. I’d seen executives do it to subordinates a hundred times. It was a tactic to destabilize and demoralize.
And it was working. I felt a familiar, helpless anger rise in my chest. But then I did what I always do when I feel helpless. I got strategic.
I pulled out my phone again. I took a picture of the locked costume shop door, the clock on my phone screen clearly visible in the corner of the shot. Then I took a selfie in the dim hallway, a tight, forced smile on my face. The timestamp was a digital alibi. I saved the photos to a new folder on my phone. I labeled it: “Wardrobe.”
Leo’s Logic
When I got home, the house smelled of garlic and oregano. Leo was in the kitchen, stirring a pot of marinara sauce, a glass of red wine next to the stove. He was a civil engineer, a man who saw the world in terms of stress loads and support structures. His calm, logical presence was the load-bearing wall of my life.
“Hey, you’re late. How was the fitting?” he asked, turning to kiss my cheek.
“Non-existent,” I said, dropping my bag on the floor with a thud. I slumped onto a stool at the kitchen island and recounted the entire evening, from the locked door to the full voicemail box.
Leo listened patiently, his brow furrowed in concentration. He tasted the sauce, added a pinch of salt, and then turned to face me, leaning against the counter.
“Okay,” he said, in his problem-solving voice. “Two possibilities. One: she’s a flake. Over sixty, maybe losing it a little, overwhelmed by the job. Community theater, right? It’s volunteer. You can’t expect professional standards.”
I considered it. It was the more charitable interpretation. The one where I didn’t have to believe a woman I barely knew was actively trying to sabotage me.
“Or,” he continued, swirling the wine in his glass, “Two: she’s doing it on purpose.”
“Why would she do that?” The question came out sharper than I intended.
“I don’t know. Maybe she had someone else in mind for the part. Maybe you remind her of her sister-in-law. Maybe she’s just a miserable person who gets her kicks by making other people miserable. People’s motivations are rarely as complex as we think.” He took a sip of wine. “The question isn’t why she’s doing it. The question is, what’s the pattern?”
As an engineer, Leo lived by data. One data point is an anomaly. Two is a coincidence. Three is a pattern.
“First, the passive-aggressive comments about my body,” I ticked them off on my fingers. “Second, the whispers to the chorus girls. Third, a ‘rescheduled’ fitting she never told me about. That’s three.”
“That’s a pattern,” he confirmed, nodding. “So you can’t treat her like she’s a well-meaning flake anymore. You have to treat her like she’s an obstacle. A structural flaw in the system that needs to be managed, reinforced, or removed.”
His words, stripped of emotion and focused on mechanics, cleared my head. He was right. My hurt, my anger, my shame—those were secondary. They were the creaks and groans of a system under stress. The primary issue was the flaw itself: Agnes.
“So what do I do?” I asked.
“You keep doing what you’re doing,” he said, turning back to the stove. “You document. You create a paper trail so clean and professional that if—when—you need to escalate this, your argument is irrefutable. You build your case like you’re building a bridge. Every email is a support beam. Every photo is a rivet. Make it so solid that when you finally present it, no one can question its integrity.”
I watched him stir the sauce, the rhythmic scrape of the spoon against the pot a comforting, steady sound. He was right. This wasn’t a personal attack anymore. It was a project with a very difficult stakeholder. And I was the project manager.
Patterns and Proof: The Case of the Missing Bodice
The rescheduled fitting finally happened two days later, after a curt email from Agnes blaming a “calendar mix-up.” The air in the costume shop was thick with unspoken tension. I was polite, almost clinically so. Agnes was sullen, her movements sharp and efficient, as if she resented every second spent on me.
The party gown was hanging on a dress form, the shimmering satin pinned in place. It was, I had to admit, starting to look beautiful. Despite her attitude, the woman could sew.
“Let’s see it, then,” she sighed, unpinning it with a flourish.
I slipped into the gown. It was still just a shell, but the fit was much better. She had taken it in at the waist and adjusted the shoulders. She began working on the bodice, a separate, boned piece that would give the dress its structure. It was intricate, with delicate beadwork along the neckline.
“Hold still,” she muttered, her mouth full of pins.
I stood as still as a statue for twenty minutes while she tucked and pinned, her breath smelling faintly of coffee and mints. Finally, she stepped back.
“Okay. Take it off. Carefully.”
I did as I was told, gingerly removing the gown and the bodice, and handed them to her. She laid the gown over a chair and placed the bodice on her cluttered worktable. While I changed back into my clothes, she bustled around the room, gathering thread and scissors.
When I was dressed, I turned back to the table. The bodice was gone.
“Where’s the bodice?” I asked.
Agnes looked up from her sewing machine, her expression a perfect mask of innocence. “What bodice?”
“The one I just took off. The beaded one. It was right there.” I pointed to the empty spot on the table, a chaotic landscape of fabric scraps, pin cushions, and half-empty mugs.
She made a great show of looking, pushing aside piles of material. “Oh, dear. It must have gotten mixed in with the other pieces. This place is such a mess during show week.” She sighed dramatically. “Don’t you worry. I’ll find it. It’ll turn up.”
But the way she avoided my eyes, the slight, almost imperceptible smirk playing on her lips, told me everything I needed to know. It wouldn’t just “turn up.” She had moved it. Hidden it. Another piece of the puzzle to prove I was difficult, careless, a problem.
“I see,” I said, my voice dangerously calm. I pulled out my phone. “I’ll just take a quick photo of the gown’s progress for my records.”
I snapped a clear picture of the shimmering dress draped over the chair, conspicuously missing its upper half. I made sure her cluttered, “messy” worktable was in the background. Her smile faltered. For a split second, I saw a flicker of panic in her eyes before the mask of weary competence slammed back into place.
“Suit yourself,” she sniffed, turning back to her machine. “Some people have too much time on their hands.”
As I walked out of the shop, I felt a cold fury settle in my gut. This was escalation. She wasn’t just delaying the process anymore. She was actively dismantling my costume.
A Calculated Coffee Break
The next evening, I arrived for rehearsal early and spotted Chloe, the young nun from the chorus, scrolling through her phone in the Green Room. She had a kind face and always seemed a little overwhelmed by the big personalities that dominated the theater. She was the perfect person to talk to.
“Hey, Chloe,” I said, sitting down in the lumpy armchair across from her. “Got a minute?”
She looked up, startled, and quickly pocketed her phone. “Oh, hi, Noor. Sure. What’s up?”
“I’m just trying to get a handle on how the costume department works here,” I began, keeping my tone light and conversational. I framed it as a newcomer’s question. “Agnes seems so busy, I feel like I’m always bothering her. Is there a better process for scheduling fittings or checking on progress that I’m missing?”
It was a classic information-gathering technique I taught in my workshops: never lead with an accusation. Lead with a question that makes the other person feel like an expert.
Chloe visibly relaxed. “Oh, God, no. You’re not doing anything wrong. Agnes is… Agnes.” She lowered her voice. “Honestly, she’s usually super organized. Almost scary organized. For my nun’s habit, she had a chart with my name on it and three different fitting times already scheduled before I even asked. She sent me a calendar invite and everything.”
My heart gave a little thump. A calendar invite.
“Wow, that’s impressive,” I said, feigning admiration. “So she’s normally on top of things?”
“Totally,” Chloe confirmed, leaning forward conspiratorially. “I mean, she complains about everyone, that’s just her thing. But she’s never lost anything of mine or missed a fitting. The opposite, actually. Last year, Sarah-Lynn, who played Marian the Librarian, said Agnes called her at work to remind her she was ten minutes late for a hem check.”
This was it. The data point that proved the pattern. Her behavior toward me wasn’t just a quirk or a symptom of disorganization. It was a targeted campaign. She was hyper-efficient and organized with the younger cast members, the ones she deemed worthy, and a chaotic, passive-aggressive nightmare to me.
“Thanks, Chloe. That’s really helpful,” I said, giving her a warm smile. “I guess I just need to be more persistent.”
“Good luck,” she said, her expression full of a sympathy she couldn’t quite articulate.
I walked away from the conversation with a grim sense of validation. The problem wasn’t me, my body, or my scheduling. The problem was Agnes. And now I had firsthand testimony confirming that her treatment of me was a deliberate, calculated exception to her own rigorous standards. The bridge Leo had told me to build just got a major steel reinforcement.
The Digital Paper Trail
That night, my strategy shifted from passive documentation to active communication. I wasn’t just collecting evidence for myself anymore; I was building a case file that others could see. It was time to bring in the key stakeholders, subtly and professionally.
I sat at my laptop and composed a new email. I put Mark, the director, and Sarah, the stage manager, in the ‘To’ field. Agnes was on ‘Cc’. It was a power move, signaling that this was now an official production issue.
Subject: Quick Check-in on Baroness Costumes
Hi Mark and Sarah,
Hope you’re both having a productive tech week!
I’m writing to provide a quick status update on my costumes, as we’re getting close to opening night. After my fitting last night, the main party gown is coming along beautifully, but the bodice has been temporarily misplaced. I’ve attached a photo from the fitting for reference.
Agnes, could you let us all know when you anticipate finding it? I’m happy to come in anytime to ensure the fit is perfect once it turns up.
Also, I still need to be fitted for my traveling suit for Act 1 and the wedding gown for the finale. Could we please get those two fittings on the calendar for sometime in the next 48 hours?
Thanks all for your hard work.
Best,
Noor
It was a masterpiece of corporate warfare. It was polite, positive, and utterly damning. It established a public record of the “misplaced” bodice. It created a deadline for Agnes to respond. It looped in her superiors, making them aware of a potential problem that could affect the show. And it did it all with a tone of collaborative, can-do spirit.
I attached the photo of the bodice-less gown and hit send. My heart was pounding. This was the point of no return. I had officially escalated.
An hour later, my phone buzzed. It was an email from Mark.
Thanks for the update, Noor. Looking forward to seeing it all come together. Agnes, please sync up with Noor ASAP. We need her in full costume for Saturday’s dress rehearsal.
A reply from Agnes came ten minutes after that, sent only to me.
It was not ‘misplaced.’ It is being worked on. Do not bother the director with wardrobe issues. That is my department. I will let you know when I am ready for you.
The rage that flashed through me was white-hot. The blatant lie, the condescending tone, the attempt to isolate me again. But I took a deep breath and forwarded her email to Mark and Sarah with a simple, breezy note.
Great news! See below. Looking forward to hearing from you, Agnes!
I was creating a breadcrumb trail so obvious a blind man could follow it. Every lie she told, every piece of misdirection, I would simply document it and forward it up the chain of command, always with a professional, helpful veneer. I was no longer just building a bridge. I was building a cage.
The Tell-Tale Tape Measure
The next fitting was for the traveling suit. Agnes was radiating a quiet, simmering fury. The bodice had magically “turned up” that morning, tucked away in a mislabeled bin, but my email had clearly put her on the defensive. Her movements were clipped, her silence heavy.
She held up the jacket of the suit, a handsome tweed number that was supposed to look sharp and sophisticated.
“Arms up,” she commanded.
I did, and she slid the jacket on. It was tight in the shoulders and across the back, pulling uncomfortably.
“This needs to be let out,” I said, trying to roll my shoulders.
Agnes clucked her tongue. “No, no. You’re slouching. Stand up straight. Shoulders back.”
I stood as straight as a board, my posture perfect from years of pilates. It was still tight. “Agnes, it’s not my posture. The seam here is straining.”
She ignored me, pulling out her cloth tape measure. “Let’s just re-measure you. Your size seems to be… fluctuating.” The word hung in the air, thick with insinuation.
She stood behind me, wrapping the tape around my chest. I watched her in the mirror. Her face was a mask of concentration, but I saw her hands. She wasn’t pulling the tape taut. She was holding it loosely, leaving at least an inch of slack, her thumb discreetly hiding the gap. Then she leaned in, squinting at the number.
About the Author
